TOP HAT The Musical is an Irresistible Cocktail of Romance, Rhythm and Radiance. Catch it at MK Theatre this week
- Shahnaz Hussain
- Sep 24
- 3 min read
by Shahnaz (Shiny) Hussain
Inspired by the much-loved 1935 classic that paired Fred Astaire with Ginger Rogers, Top Hat has more than earned its place on stage, with the original West End production scooping the 2013 Olivier Award for Best New Musical and the Evening Standard Award for Best Night Out. And it’s not hard to see why. With Irving Berlin’s timeless score as its backbone, the show brims with some of Hollywood’s most iconic numbers, including Cheek to Cheek, Let’s Face the Music and Dance, Top Hat, White Tie and Tails, and the ever-thrilling Puttin’ on the Ritz.
The story begins as Broadway star Jerry Travers arrives in London to headline a new show. His late-night tap dancing awakens the glamorous model Dale Tremont in the suite below, sparking both irritation and attraction. Jerry, instantly smitten, falls for her, but a web of misunderstandings quickly ensues. Dale mistakes him for his producer Horace, who is already juggling woes with his formidable wife Madge, while she herself is courted by flamboyant Italian designer Alberto Beddini, determined to sweep her off to Venice to model his creations. The result is a sparkling cocktail of romance, wit, and comic mischief.
The evening began in glorious style: just the overture had me perched on the edge of my seat with anticipation. From the very first notes, the orchestra—immaculately led by a tuxedoed conductor- captured the glamour of the period with big band swells, muted trumpet flourishes, sweeping strings, and nuanced dynamics that perfectly underscored the action on stage. Their authenticity and finesse brought the entire world of 1930s Hollywood to vivid life.
The staging was deceptively simple yet breathtakingly effective. A vast clock dominated the set, its revolving centre seamlessly transforming into each new location. Props and scenery appeared with effortless grace, glided into place by a flawless ensemble whose precision and timing became a spectacle in themselves. When the first major chorus tap sequence erupted with Puttin’ on the Ritz, the sheer energy and synchronicity gave me goosebumps.
Phillip Attmore, making his UK debut as Jerry Travers, was utterly magnetic. With credits spanning Broadway’s Hello, Dolly! and Cheek to Cheek: Irving Berlin in Hollywood, not to mention television’s The Marvellous Mrs Maisel, his honeyed voice and irresistible charisma transported us back to the golden age. His tap work, filled with artistry and flair, was nothing short of exquisite. Opposite him, Amara Okereke’s Dale Tremont was a perfect match. With a stage pedigree that includes Les Misérables and My Fair Lady, her elegance, supple movement, and luminous vocals created a pairing that sparkled with chemistry. What was particularly refreshing was the vocal delivery, never strained or overamplified, but warm, intimate, and crystal-clear, allowing every word and emotion to land with authenticity.
Comedy, too, was served in abundance. Sally Ann Triplett (Madge Hardwick) and James Hume (Horace Hardwick) injected the piece with sharp wit and delightful farce, while James Clyde’s Bates left the audience roaring with laughter. Alex Gibson-Giorgio as Alberto Beddini delivered another standout turn, embodying the flamboyant designer with flair and comic brilliance.
Top Hat is a show that reminds us what musical theatre can be when it embraces sophistication, wit, and that indefinable joie de vivre. It’s a feast of satin, feathers, and sparkle, anchored by glorious tap dancing, a craft far too rare on today’s stages. One can only hope this golden-age gem heralds a revival of more classics from that era, because evenings like this prove just how timeless, stylish, and superior they remain.
Don’t miss this; there are still tickets, and it is an absolute must, particularly for aspiring actors and dancers.
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